E firstname.lastname@example.org Skype jeremy-cooperblack
Left Of Elephant Sound is the brainchild of sound engineer, composer and musician Jeremy Conlon.
He is a prolific musician, composer, music producer and sound engineer. His musician life started in Adelaide band The Violets, who had several high rotation tracks on TripleJ in the 1990s, performing at 2 Big Day Out festivals, touring Australia and supporting many national and international acts (Porno For Pyros, Cruel Sea, Died Pretty, Falling Joys, Def Fx and more).
He is the main songwriter and voice behind Cooperblack.
Jeremy has a Bachelor in Music (Composition), and these skills assist him in the process of work shopping songs and achieving the vision of songwriters in production and structure, at the same time having a passion to record music, particularly in non traditional recording environments, to capture musicians playing live with the least amount of interference and manipulation.
Jeremy has worked on the ARIA award winning albums “Gurrumul” and “Rrakala” by Geoffrey Gurrumul Yunupingu. Early 2010 saw Jeremy working for Skinnyfish Music in New York City at the world class Avatar Studios, on the new Gurrumul Yunupingu album, assisting well renowned sound engineer Anthony Ruotolo (Lou Reed, Ben Folds, They Might Be Giants)
He has worked in music retail for 14 years and has a vast knowledge of genres and styles, and maybe even catalogue numbers, and has had the fortunate opportunity to work with and assist Jim Mogine (Midnight Oil, Producer for Silverchair), Chris Dickie (Augie March, The Pogues, Kasey Chambers, The Cure, Depeche Mode), Craig Pilkington (Gurrumul, Audrey Studios Melbourne), Anthony Ruotolo (Avatar Studios New York), Chris Thompson (Triple J engineer and Martin Street Studios), Sydney Opera House Studio Tony David Cray (live Gurrumul recording).
Training musicians is something Jeremy really enjoys and treasures, and he has delivered training for Charles Darwin University in many Northern Territory communities such as Manmoyi, Warruwi, Tiwi Islands, Titjikalla, Ikuntji, Kunbalanya, Elliott, Tennant Creek, Epenarra, Lajamanu, Minjilang, Papunya and more.
Music he has produced has been played on Triple J, ABC National Radio, Rage, FBI Radio and community radio stations around Australia. Latest work for Jeremy includes string arrangements for Green Stone Garden’s performance at the 2013 Darwin Festival, album production for the Tjintu Desert Band (CAAMA), Musical Director for Tjintu Desert Band’s “Desert To Saltwater Tour”, sound engineer for the musicology recording project “Gulf Country Musecology” for Mabunji Aboriginal Resource Association Borroloola.
November 2013 Jeremy worked on sound design for NT based dancer and choreographer Ben Graetz, in his production of “I Am Man”, part of “New Blak Territory“ at Browns Mart Theatre.
Wildflower Band – “Galiwinku” – recorded and mixed by Jeremy Conlon , produced by Skinnyfish Music, Darwin.
Nabarlek Band – “Brown Bird” – recorded and mixed by Jeremy Conlon, produced by Skinnfish Music, Darwin – 2007 Northern Territory Indigenous Music Awards Album of year for Manmoyi Radio – Song of the Year for Little Journey to Manmoyi – Terrah Guymala DVD/Film Clip of the Year – Brown Bird – Artwork & Design of the Year – Manmoyi Radio
Overly detailed Bio…..
He has had the opportunity to work with and assist Jim Mogine (Midnight Oil, Producer Silverchair), Chris Dickie (Augie March, The Pogues, Kasey Chambers, Depeche Mode), Craig Pilkington (Gurrumul, Audrey Studios Melbourne), Anthony Rotulo (Avatar Studios New York) Chris Thompson (Triple J engineer and Martin Street Studios), Sydney Opera House Studio Tony David Cray (live Gurrumul recording).
Jeremy has formal training in music technology (Cert IV in Music Tech.) and classical composition (Bachelor of Music, Composition).
In addition to producing his own band’s Cooperblack CDs, his credits (in a variety of roles) include working with Country Town Collective, 2Cats 1Hat, Leah Flanagan, Worldfly, Nabarlek, Mark A. Hunter, Wildflower, Sophie Koh, and many more. (see discography)
Jeremy worked in record stores for about 13 years (often recalling useless release catalogue numbers at will) during that transitional period of the disappearance of vinyl to CD, when cassette singles were rocking and other strange formats (Phillips Digital Tape) came out and then were never to be seen again. This work has given Jeremy a great knowledge of music releases, styles and genres.
He was accepted into art school with an experimental sound folio (North Adelaide School Of Art), and then eventually went to music school (Flinders Street School of Music), to study music technology and complete a degree in Music (Composition) at The Elder Conservatorium, Adelaide University. During this period he performed with Adelaide band The Violets, 1991 – 2001, and was exposed to different studios in Australia, (Mixmasters, Sody Pop, 301, Krell Studios) where the technology, techniques and procedures fascinated him.
Cooperblack (a font) is essentially a solo project of Jeremy’s, started when at art school, and continued to evolve from 2 track bedroom recordings, 4 track recordings, then to Pro Tools and electronic recording devices, spurred on from his experiences recording in The Violets. In Adelaide, Jeremy performed and traveled to gigs with all equipment on bikes with Dj Trip (Tyson Hopprich). There were several releases while in Adelaide, including the track “Presbus”, which received heavy rotation on Triple J.
Cooperblack 2015 – 2017 In a home studio in one of the most remote places on the planet, Jeremy Conlon is busy bringing to life his latest incarnation of Cooperblack. He lives (with his synths and drum machines) in a small indigenous community in the Central Australian desert called Yuendumu, four hours drive north- east of Alice Springs.
Return to The Big Eyes is his first release in a few years, and sees him back in the Northern Territory, his adopted home. Heavy on the synths, crushed drums, pop hooks and falsetto, the EP is five tracks of desert electro-pop, if that’s even a thing.
Return To The Big Eyes is also the sound of Cooperblack coming full circle, returning to electronic music after mutating into a warped, four-piece motorik rock band for their previous album, My Art Is Bleeding.
Written in isolation, this new EP is just Jeremy, his drum machines and synths in a makeshift studio way out in the middle of nowhere. Add into the mix a broken heart, being away from friends and family and you have a perfect recipe for a bunch of melancholic, yet somehow upbeat, electro-pop gems.
The first single, I Assume, features a clay-animation film clip by Melbourne based artist Alex Machin, and the track 3 Point Turn features a guest appearance from stream-of-consciousness female MC elmstonchrist, digitally delivered across the Australian outback, from Darwin to Yuendumu.
Return To The Big Eyes in the sixth release distributed on ZZAAPP Records, an independent record label from Arnhem Land, NT, Australia focusing on underground electronic music from out-of-the-way places.
Cooperblack – Presbus (1999)
Cooperblack – I Assume (2015)
The Violets released 2 albums, 1 released ( “Leased Regret”) and 1 never released (Unwelcomed Digital Visitor), and 6 CD EPs, having been signed to Phantom Records (Def FX, The Whitlams, Dragon) in Sydney then Krell Records in Adelaide. The tracks “Somewhere”, “Sleeping Eyes” and “Mary Who” recieved considerable airplay on Triple J.
The Violets first release “Subtitle” was produced by Les Karsky (Boys Next Door, Midnight Oil) and their single “Mary Who” was mixed by Tony Cohen (Nick Cave, The Go Betweens Cruel Sea). They toured Australia supporting many bands, including 2 Big day out festivals 1993 and 1996. Supports included Nick Cave, Sonic Youth, Iggy Pop, Porno for Pyros, Falling Joys, Died Pretty, Mark Seymour, Cruel Sea, Amonia, Dire Straits, Def FX, Ride, Augie March, among others. The Violets went on to win several South Australian Music Industry Association awards for their releases and film clips.
The Violets – Pianohead (1999)
The Violets – Sleeping Eyes (1999)